How to Get Your Book Successfully Published
LIMITED TO 8 WRITERS
We have helped hundreds of writers get successfully published through our workshops and our book, The Essential Guide to Getting Your Book Published. Now we are opening up our home and taking to the web to host two six-week master classes that will be tailored to the books of the eight writers who participate. You will come out of the master class with:
- A polished pitch
- A bio that brings the best out in you
- Comparable titles
- A publishing strategy: Agent/Big 5 publisher, independent publisher, or self-publishing?
- A list of agents or publishers tailored to your book
- A toolkit to build your platform
- And much more
The class will be limited to eight writers.
WHEN: In-person classes will be Mondays from 7-9PM beginning September 17, 2018. Online classes will be Sundays from 3-5PM (EDT) beginning September 16, 2018.
WHERE: We’re hosting the in-person master class in Montclair, NJ. The online master class is open to anyone with an internet connection anywhere in the world.
PRICE: $650 through June 17, 2018. $750 beginning June 18.
Interested? Want to join a master class?
Contact us at firstname.lastname@example.org for more information.
It’s hard to be a writer in the Bay Area and not know Charlie Jane Anders. Besides being a prolific writer, she is an incredibly generous networker and runs an absolutely awesome reading series called Writers With Drinks. So we thought we’d check in with her and pick her brain about novels, writing, reading, and all that jazz.
The Book Doctors: In some ways, your book defies categories. To us, it felt like magic realism, but it has elements of fantasy, cyber-steam punk, and coming-of-age. When you sat down to write this book, did you think about what category it would be in? Did this make it more difficult to sell the book and find an audience?
Charlie Jane Anders: When I started to write All the Birds in the Sky, I was attracted to the idea of smushing together fantasy and science fiction by having a witch and a mad scientist in the same story together. I thought of the book initially as sort of pastiche or spoof. I would have all these standard fantasy tropes and these science fiction tropes, and they would be colliding in a funny way. That turned out to be very, very boring. Instead, I had to think more about what these two genres meant to me and how I connected to each of them personally. I was terrified that this genre confusion would make the book a hard sell — but it turned out the bigger problem was the fact that it starts out with the characters as little kids and then we see them grow up about 100 pages in. It seemed like some people could not quite wrap their minds around the idea of a book that feels like a young-adult novel at first but then becomes an adult novel. I was so grateful that my agent and publisher were willing to roll with it and didn’t try to get me to restructure the book, with flashbacks or whatever.
TBD: David has, because of many personal experiences, felt like an outsider most of his life. So he especially related to the main characters of this beautiful book, and we wondered if your experience as an outsider helped shape these characters, who are fighting against a world that sees them as different, unusual, bizarre, and ultimately, threatening.
CJA: The theme of feeling like an outsider kept coming up in this book, in part because of the decision to start out with the main characters as kids. I think a lot of people can relate, one way or another, to the sense of not fitting in or being misunderstood. I had a rough time in grade school and middle school for a bunch of reasons, and I felt like writing honestly about growing up meant that I had to capture some of that emotional and physical insecurity that so many of us have lived with. And yet, having the kids grow up and live as twentysomethings meant that we got to see them as powerful adults, with control over their own lives and agency and all that goes with that. They can’t escape from being shaped by their childhood experiences, but they can choose how they deal with it.
TBD: You have put a lot of time and effort into reaching out to a community of writers. We suggest this to our clients all the time. How did you do this, and has this helped you in your writing career?
CJA: I can still easily remember when I felt totally isolated as a newbie fiction writer, and how hard it was to find people to connect with. Whatever point you’re at in your career, writers really need to stick together, to help deal with the pressure and insanity of the creative process and the publishing biz. I’ve had a blast curating Writers With Drinks, the reading series that I organize and (usually) host in San Francisco. I have gotten to meet a whole bunch of amazing writers — including David! — and hear them read. And it’s been a thrill to expose people to a new audience, especially since Writers With Drinks usually has as many different genres and styles as I can fit into one event. So you might come to hear the science fiction author, but discover a new favorite poet. But just as valuable has been the social aspect — an event where we’re all creating something together and nobody’s competing has been great for helping me (and hopefully others) make friends. I think being around these awesome, talented people has helped me raise my game as a writer, because I get to hear/read some of the best examples of the craft every month.
TBD: David has read several times at the fantastic reading series called Writers with Drinks, at the deliciously named Make Out Room in San Francisco, and he always has a blast. What have you learned by watching the hundreds of writers that you have wrangled into this wildly successful series?
CJA: Ha, see above. To add to what I wrote up there, I think that part of the fun of Writers With Drinks has been the thing of combining different genres and getting to see how a stand-up comic, a slam poet, a science fiction author and a literary memoirist are using some of the same techniques and approaches — just with different end goals. Plus you get to see how each genre is powerful in its own particular way. I love when you get people laughing their ass off one minute and then being moved to tears the next.
TBD: Tell us about io9 magazine.
CJA: Getting to be involved with the creation of io9 was one of the greatest opportunities of my life. Annalee Newitz, who founded io9, wanted to blend science and science fiction in a kind of homage to Omni Magazine, and it was really inspirational to see how the two things informed each other. After eight and a half years, I came away with a really strong sense that we are 100 percent living in the future. And I basically got paid to geek out about storytelling, and sometimes my half-baked ideas about books, movies and TV shows led to some of the most fascinating conversations with our readers and other folks. It was like getting paid to go to grad school.
TBD: You’ve been published in tons of small magazines and journals, like Tin House, McSweeney’s, and Zyzzyva, to name a few. How does a writer get published in these places, and how has this helped you in your publishing career?
CJA: When it comes to Tin House and McSweeney’s, I was only published on their websites, but it was still a major honor to be featured there. And getting into ZYZZYVA was one of the coolest things that ever happened to me. This super well-respected literary magazine chose to publish me way, way back when I was just starting out and barely getting my stories into tiny zines and the occasional website. In general, I published tons and tons of fiction in small publications, many of which have gone under or never received any exposure to speak of. Early on, I would publish stories pretty much anyplace that was willing to consider them, including one of those adult newspapers that’s mostly a vehicle for stripper ads. I didn’t make a lot of money from doing that, to say the least, but it was good to get the experience of having my creative writing appear in a lot of places and dealing with editors and readers. The whole process of making up a story — and having it turn into something that other people read and take in and form their own relationship with — is so weird, it might be kinda good to get used to it before you start reaching a bigger readership.
TBD: You won an Emperor Norton Award. First of all, what is that exactly, and how did you end up becoming a winner of this prestigious award?
CJA: Oh ha ha ha… the Emperor Norton Award for Extraordinary Invention and Creativity Unhindered by the Constraints of Paltry Reason is something that Tachyon Publishing and Borderlands Bookstore were doing for a while there — I don’t know many of them they gave out, but I was so thrilled. I think something about the weird, silly intros I cook up for the authors at Writers With Drinks, plus my bizarre fiction, struck someone as unhinged, in a good way. I was very flattered — hinges are good for doors, but I think a lot of people could stand to be a little less hinged. I’m always kind of scared of how many people seem to think they have everything all figured out.
TBD: You are a self-described “female geek.” What does that mean to you? And tell us about the anthology you put together that embraces this particular demographic.
CJA: Way back in 2006, Annalee and I were both approached about editing anthology projects for Seal Press, and we decided to collaborate. Our book was called She’s Such a Geek, and it was a collection of essays by women in science, technology and other geeky fields. We put out a call for submissions, and we were just blown away by the hundreds of submissions we received. There were a lot of heartbreaking stories by women who had been at the top of their class as undergraduates but then got treated horribly in grad school. A lot of geeky women of color shared stories of hearing subtle (and not-so-subtle) messages about their ability to keep up and contribute. There were also a ton of uplifting, thrilling stories of geeky triumph and discovery, from women who discovered a love of science, math, tech, gaming or science fiction and found that it changed their lives. It was an eye-opening, intense experience. Since that book came out a decade ago, we’ve seen way more women celebrating their geek identity, and venues for female geeks to come together. There’s an annual event called GeekGirlCon and a ton of other stuff. It’s been so awesome to see that happen.
TBD: In All the Birds in the Sky, Patricia the witch forms a really strong bond with her cat, Berkley. What happens to the cat after she goes off to magic school?
CJA: A ton of people asked me what happened to Berkley, who’s very important in Patricia’s life when she’s in middle school. I learned the hard way that you can’t leave any loose ends where cats are concerned — unless they’re loose ends in a ball of yarn, in which case go ahead. So I wrote a story called “Clover,” which is available at Tor.com, to explain what happened to Berkley later on. This turned out to be one of those things where you start pulling on one thread — to continue the ball of yarn metaphor — and then all sorts of interesting things start coming out. I ended up getting a chance to explore a bit more about the use of magic in my fictional world, and approach it from a very different direction than I did in the book, thanks to a different protagonist. Plus this story absolutely stands on its own — so if someone hasn’t read the book yet, this is a good way to dip into that world.
TBD: We hate to ask you this, but since you do have a column in which you give writing advice, what advice you have for writers?
CJA: The main advice I have for writers is to hang in there and keep writing. And also, to be kind to yourself. A writer — especially a beginning writer — has to keep two contradictory mindsets in order to keep going. You have to believe that you’re a flippin’ genius, your ideas are brilliant, and you’re a fantastic storyteller, or you won’t be able to summon the audacity and stamina to create the big, ambitious stories you want to tell. But you also have to be aware that your writing is going to have huge flaws, it’s easy to screw up, the craft takes a long time to learn (and you really never finish learning it), and when people criticize your work they’re probably on to something. That combination of hubris and humility can be hard to sustain and can easily drive you nuts. So be nice to yourself, and just keep writing even if you think you’re churning out garbage sometimes.
Charlie Jane Anders is the author of All the Birds in the Sky. She organizes the Writers With Drinks reading series, and was a founding editor of io9, a site about science fiction, science and futurism. Her fiction has appeared in Tin House, McSweeney’s Internet Tendency, ZYZZYVA, Pindeldyboz, Tor.com, Asimov’s Science Fiction, The Magazine of Fantasy & Science Fiction, Lightspeed, and a ton of anthologies. Her story “Six Months, Three Days” won a Hugo Award and her novel Choir Boy won a Lambda Literary Award.
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We became aware of S.K. Ali from our good friend Ayesha Mattu, author of Love, InshAllah fame. When we found out about the amazing work she’s doing, we decided to get her two cents on Muslim voices, books, and gummies.
The Book Doctors: Why did you start #MuslimShelfSpace?
S.K. Ali: In early December, I tweeted a picture of my shelf of works by Muslim authors in response to the news of a book that “parodied” classic children’s book covers using extremely racist imagery of marginalized communities. My shelf of Muslim authors offered narratives that stared down the awful stereotypes of Muslims included in the “parodied” covers.
Friends wanted to post their own shelf pictures and we discussed how important it was that Muslim #ownvoices narratives be centered in order to counter all the Islamophobia the U.S. election season had brought to the fore, and voila, #MuslimShelfSpace was born. We launched the hashtag on January 1, 2017 and it garnered a lot of support from people committing to making space for Muslim authors on their shelves.
TBD: Why is it so important to hear our “own voices”?
SKA: Islam and Muslims are often, well, almost relentlessly, discussed in public spheres such as the media and politics, but Muslims who claim the identity are rarely involved in the conversations. The focus is on Muslims — without Muslim voices. When we have that happening — people of a certain identity talked about, talked of, talked for but never or very rarely DOING the actual talking — we can quickly slide onto the dangerous terrain of othering to the point of denying people’s humanity. And then we begin to see policies like the Muslim Ban moving into place.
If that itself is not enough of an important reason to hear own voice narratives, what if I said they were immensely more entertaining than the faked stuff? Because authenticity — of the rarely seen variety — offers fresh takes and whoa, you’ll be taken to places/spaces you might not have visited before. Fun!
TBD: What are some of your favorite books and why?
SKA: I have too many! Because my debut novel is Young Adult, I can tell you some of my YA/MG favorites:
The Chaos Walking Trilogy by Patrick Ness — breathtakingly ambitious and unique. The setting of the series is so out-of-this-world, yet familiar and the conflicts and issues explored are relevant to our point in time. It’s such an important series.
When You Reach Me by Rebecca Stead — crucial to me as a writer because it wasn’t afraid to be what it was: unconstrained. As writers, it’s important to go back to that space when you first discovered the thrill of creativity, before it became fenced (in your mind) by the mores of those who’ve already shaped the literary landscape(s). This book helped remind me to just be and write free.
The Disreputable History of Frankie Landau-Banks by E. Lockhart — I love girl power stories and this one was really well done, with a writing style that’s bare and upfront. It traces the moment of a girl waking up to the realities of gender inequity and proceeding to take the reigns of power into her own hands, all set to a backdrop of an old-money, private school.
TBD: What are your feelings regarding the Muslim ban imposed by the current administration?
SKA: The only feelings to be had on hearing such a vile thing: how does hate get to dictate the policies of a country with such a constitution, “We the People..”?
TBD: As a Canadian, how did you react to the Canadian terrorist attack by a white man on Muslims?
SKA: Utter sadness. And the remembrance that Canada is not immune to the Islamophobia sweeping many parts of the world.
TBD: How did you become an author?
SKA: Since I was 12, I’ve known that I wanted to tell stories. I proceeded to get my degree in creative writing and then set the dream aside when I embarked on motherhood and pursuing a career as a teacher. It was only recently — ten years ago recently — that I picked the dream up again. That meant writing, learning, rewriting, and repeating until I got a literary agent and sold my book last year.
TBD: Tell us about your book Saints & Misfits.
SKA: It’s about a Muslim fifteen-year-old, Janna Yusuf, who finds her voice in the midst of something painful. It’s also about the diverse communities, plural, she moves in — her high school, neighborhood, the Muslim community. I’m honored that Saints & Misfits will be the first YA novel published by a major publisher, featuring an American-Muslim in hijab, set in an American-Muslim community. The book also looks at relationships in various forms, including Janna’s friendship with an elderly Hindu neighbor.
“S.K. Ali’s Saints and Misfits follows Janna Yusuf, a geeky, hijabi Arab-Indian-American girl, as she navigates high school and the possibility of first love—even though Muslim girls aren’t supposed to date, right? She’s trying to figure herself out, along with her place in the world, especially if that means revealing a shattering secret that just might send ripples through her tight-knit Muslim community.” -Sona Charaipotra, “11 of Our Most Anticipated #OwnVoices Reads of 2017”
TBD: Is it true that there are halal gummy bears in the book?
SKA: Yes, definitely. And halal marshmallows. (Cue screams from the creeping-sharia-alert crowd.)
TBD: We hate to ask you this, but what advice do you have for writers and citizens who’d like to see more diverse books on the world’s shelves?
SKA: My advice for writers from marginalized communities is to write the stories you want to see. Don’t limit yourself with the thought that nobody wants them — because that’s NOT TRUE. I point to the multi-billion dollar Islamic fashion industry that now major corporate brands are wanting to break into. Muslims who couldn’t find the clothes they wanted made the clothes they wanted and customers found them and bought from them. Same thing with writers and other artists: make what you want to see/read/write and your audience will find you. Don’t be constrained by the canon that came before because that canon didn’t include you. (And, psst, another bit of advice: don’t delve on the why-it-didn’t-include-you thought too long because that’s how your writing won’t get done.)
People who’d like to see more diversity in literature can support own voice narratives by boosting authors writing from within their identities. [This is where I’d like to say, thanks, David!]
One thing not to do: PLEASE, PLEASE DON’T WRITE OUR STORIES FOR US. It’s really hard, impossible, even, to get it right and even the best-intentioned ones have a way of harming more than helping. And trust me, over the years, we’ve seen Muslim characters who, at their best, we don’t recognize and, at their worst, hurt us to the core with the way they’re depicted. For young readers especially, this kind of pain affects their understanding of their place in the world and that’s just too sad.
S.K. Ali is a teacher based in Toronto whose writing on Muslim culture and life has appeared in the Toronto Star. Her family includes Muslim scholars consistently listed in the The 500 Most Influential Muslims in the World, and her insight into Muslim culture is both personal and far-reaching. S.K. Ali’s debut YA novel is a beautiful and nuanced story about a young woman exploring her identity through friendship, family, and faith.
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MONTCLAIR LITERARY FESTIVAL presents:
THE BOOK DOCTORS PITCHAPALOOZA
APRIL 1, 4:30-6:00PM, MONTCLAIR PUBLIC LIBRARY
COME PITCH YOUR BOOK!
WHAT: Pitchapalooza is American Idol for books (only kinder and gentler). Twenty writers will be selected at random to pitch their book. Each writer gets one minute—and only one minute! Dozens of writers have gone from talented amateurs to professionally published authors as a result of participating in Pitchapalooza. At the end of Pitchapalooza, the judges will pick a winner. The winner receives an introduction to an agent or publisher appropriate for his/her book.
WHO: Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company dedicated to helping authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). Arielle Eckstut has been a literary agent for over 20 years at The Levine Greenberg Rostan Literary Agency. She is also the author of nine books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 16 books on a wide variety of subjects, including memoir, sports, YA fiction, and reference. His first book has been translated into 10 languages and optioned by HBOl; his latest book was featured on the cover of the Sunday New York Times Book Review. Arielle and David have taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared everywhere from The New York Times to NPR’s Morning Edition to USA Today.
Our special guests for the Montclair Literary Festival are literary agents:
Liza Dawson, Liza Dawson Associates
Joelle Delbourgo, Joelle Delbourgo Associates Literary Agency
Monica Odum, Bradford Literary Agency
HOW: At Pitchapalooza, judges will help you improve your pitch, not tell you how bad it is. Judges critique idea to style to potential in the marketplace and much, much more. Authors come away with concrete advice as well as a greater understanding of the ins and outs of the publishing industry. Whether potential authors pitch themselves or simply listen to trained professionals critique each presentation, Pitchapalooza is educational and entertaining for one and all. Pitchapalooza has been covered by The New York Times, The Washington Post, The Wall Street Journal and many other publications.
WHERE: Montclair Public Library
WHEN: April 1, 4:30-6:00 — THE ONLY PITCHAPALOOZA IN NJ IN 2017!
PRIZE: The winner receives an introduction to an agent or publisher appropriate for his/her book.
“We came to Pitchapalooza with an idea and six months later we got a book deal with a prominent publisher. We simply couldn’t have done this without this opportunity and without David and Arielle. We had been working on this project for several years, on our own, and struggling without any guidance. We were really discouraged by the entire process. Winning Pitchapalooza, and working with these two really helped us focus and renew our enthusiasm in the project. And now we’re going to be published authors!”
—Nura Maznavi and Ayesha Mattu, Pitchapalooza winners and authors of Love, Inshallah: The Secret Love Lives of American Muslim Woman
How do you get your book successfully published in today’s ridiculously competitive marketplace? Come to The Book Doctors Master Class to find out.
WHAT: The Book Doctors Publishing Master Class
WHEN: April 2, 10am-1pm
WHERE: 11 Pine Street, Montclair, New Jersey
PRICE: $100 including copy of The Essential Guide To Getting Your Book Published
Every participant will get the chance to pitch their book idea and get it critiqued kindly and gently. Whether you are looking to get a deal with one of the Big 5, a great independent publisher, or self-publish, your pitch is the key that unlocks the door to an agent, a publisher, and in the end, a reader. Space is limited, sign up now!
How to register
Click the Pay Now button to make a secure payment.
Here’s what people are saying about The Essential Guide To Getting Your Book Published:
“A must-have for every aspiring writer.”
—New York Times bestselling author, Khaled Hosseini, The Kite Runner
“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”
—New York Times bestselling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich.
Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company dedicated to helping authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). Arielle Eckstut has been a literary agent for over 20 years at The Levine Greenberg Rostan Literary Agency. She is also the author of nine books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 16 books, on a wide variety of subjects, including memoir, sports, YA fiction, and reference. His first book has been translated into 10 languages and optioned by HBO; his latest book was featured on the cover of the Sunday New York Times Book Review. Arielle and David have taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared from The New York Times to NPR’s Morning Edition to USA Today.
The only book a writer needs, now completely revised and updated to reflect the ongoing and unprecedented changes in publishing. Our book has been praised by industry professionals, bestselling authors and dozens of aspiring authors who have used it to turn their dream of publishing a book into a reality.
“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This tome is the quiet secret of rockstar authors.”
This step-by-step guide demystifies the publishing process
- Come up with a blockbuster title
- Craft an attention-getting pitch
- Create a selling proposal, find the right agent
- Understand a book contract and royalty statements
- Develop sales, marketing and publicity savvy
- Self-publish, if that’s what you choose
New information on marketing strategies:
- Connect with your community and build up a following online via social media
- Create a search-engine-friendly title
- Produce a video book trailer
- Make, sell and distribute an e-book (as well as information on ebook royalties)
- The latest on print-on-demand and other self-publishing technologies
The Essential Guide To Getting Your Book Published includes interviews with hundreds of publishing insiders—agents, editors, publicists, social media experts, booksellers and more. And of course authors. You’ll hear from Margaret Atwood, Neil Gaiman, Amy Bloom, Seth Godin, Susan Orlean, Dan Ariely and many many more.
You’ll also find:
- Inspirational publishing success stories
- Dozens of insider tips
- Sample proposals
- Sample query letters
- Contract guidelines
- A resource guide
The Essential Guide to Getting Your Book Published is more vital than ever for anyone who wants to mine that great idea and turn it into a successfully published book.
Buy the e-book for $1.99
Rescheduled to December 1, 2016
The query letter is an author’s first arrow in their assault on the castle surrounding the Kingdom of Bestsellers. The Book Doctors are constantly shocked by how many great writers write terrible query letters. Agents and publishers are overwhelmed and inundated; if they don’t fall in love with your query letter, you’re going to get one of those horrible generic responses which, no matter how much sugar they put on it, basically tells the author to drop dead.
This webinar will break down everything you need to know about the query letter, and we will deconstruct and critique (in our kind and gentle way) participants’ randomly selected query letters.
This webinar is FREE to view. To submit your query letter for possible critique, please send it to email@example.com. Include “query webinar submission” in the subject line.
When we first moved to New Jersey, we were lucky to meet a few local writers. One of them was Caroline Leavitt. We kept running into her at writers conferences and book festivals, and we became huge fans of her and her books. She is the quintessential writer’s writer. When we found out about her new book, Cruel Beautiful World, we picked her brain on the state of writing, publishing, and how the heck she got Scott Simon to interview her on National Public Radio.
TBD: David was coming of age in that strange period between the ‘60s and the ‘70s, when America went from being obsessed with flower power and the Grateful Dead to disco and cocaine. What draws you to this strange crossroads in American history?
CL: Oh, I was coming of age then, too. I wanted to go out to San Francisco and wear flowers in my hair and “meet some gentle people” but I was too young. So I hung out at the Love-Ins in Boston with my older sister. There was such profound hope in the ‘60s, a sense that we really could change the world for the better. And then the ‘70s hit. And Nixon invaded Cambodia. And Kent State happened. And the Mansons. What happens when dreams turn into a reality you didn’t expect? Can you still find meaning in your life? That’s what really interested me.
TBD: We work with so many writers who have a bizarre conception of what it is to be a writer: you’re suddenly filled with inspiration, you dash off your opus, and then you sit in your cabin by the lake while the royalty checks roll in. Of course, anyone who’s written a book knows it’s mostly sitting by yourself in a room, slogging away and trying to chisel out a work of art and commerce from a lump of clay you have to create with your imagination. As authors who’ve been writing for decades, we have to ask, why the heckfire do you do it?
CL: I firmly believe if I didn’t do it, I would be insane. And also because I love the whole sensation of being in another world, of creating characters. Maybe I am a bit of a masochist, but I love the hard, hard work.
CL: I’m writing the first chapter of my new book, and I’m too superstitious to say anything about it. I’m reading Shelter in Place by Alexander Maksik, which is fabulous, and I have this book Idaho by Emily Ruskovich.
TBD: We hate to have to ask you this, but we do. What advice do you have for writers?
CL: Never ever ever ever give up. Never. Someone says, “no”? The next person might say, “yes.” And do not write to the marketplace. Write the book that speaks to you, that is going to change YOUR life. If your book can do that, well then, it will change the lives of others, too.Caroline Leavitt is the author of the Indie Next Pick Cruel Beautiful World, and the New York Times Bestsellers Pictures of You and Is This Tomorrow. She reviews books for the San Francisco Chronicle, The Boston Globe and People, and she teaches novel writing online at UCLA Writers Program Extension and Stanford, as well as working with private clients. She can be reached at www.carolineleavitt.com.
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We first met Jenise Aminoff at the New England SCBWI Conference in Springfield, Massachusetts. She wowed us with her awesome pitch at our Pitchapalooza (think American Idol for books), and we were absolutely sure that she was going to be a published author sooner rather than later. Sure enough, her new book, A Witch’s Kitchen, is coming out, and we thought we would pick her brain about her road to publication.
The Book Doctors: How did you learn to be a writer?
Jenise Aminoff: Yikes. There are so many ways I could answer that question. The simple answer is that I took a lot of classes. When I got to MIT, thinking I’d be a physicist or aero/astro engineer, I started taking writing classes as stress relief. Contrary to popular belief, MIT actually has a robust humanities department and an excellent writing program. At some point, I realized that I was enjoying writing much more than solving equations, so I changed majors. I have a bachelor’s of science in writing, and my thesis was poetry. Go figure.
One of the classes I took was Joe Haldeman’s Science Fiction Writing. He told us about the Clarion Workshop, so the fall after I graduated (and got married), I applied and got in. Clarion ’95 was an incredible experience, and a lot of fantastic writers came out of it. Josh Peterson attended having just won the Writers of the Future contest. Kelly Link (a recent Pulitzer finalist) sold her first story to Asimov‘s during Clarion. Nalo Hopkinson (won a Campbell and a Nebula and many, many more), Lucy Snyder (just won a Stoker), and Michael Warren Lucas have all gone on to be successful novelists. Bruce Glassco wrote the incredibly popular board game Betrayal at House on the Hill.
Going from that to the MFA program at Emerson College was a huge letdown, and I quit after one semester. But I needed a job, so a friend took pity on me and got me a job as a technical writer. Funny thing: if you tell people you have a degree in writing from MIT, they immediately assume it’s technical or scientific writing. Since then, I’ve been a technical writer, science writer, information designer, webmaster, grants writer, marketing content writer, and STEM curriculum designer.
For a long time, my fiction and poetry took a backseat to career and kids, but then a novel fell on my head. And I realized I was in trouble because I’d never studied long-form fiction, and novels are NOT just longer versions of short stories. So I found more classes to take: Odyssey Online’s Fabulous Dialogue in Fantastic Fiction with Jeanne Cavelos, Writing Middle Grade/YA Novels with Holly Thompson, and Odyssey Online’s Getting the Big Picture (novel revision) with Barbara Ashford.
All throughout this, I was keeping active in one way or another. I belonged to critique groups, live and online. I was a slush reader for Aboriginal Science Fiction magazine right after Clarion, and after the first Odyssey Online class, I became an editor for New Myths magazine. I ran a reading series with an open mic for nearly ten years. And I read and read and read, everything I could get my hands on about writing: Le Guin’s Steering the Craft; Lawrence Block’s Spider, Spin Me a Web; Don Maass’s Writing the Breakout Novel; Cathy Yardley’s Rock Your Plot; and of course, The Essential Guide to Getting Your Book Published. I also joined the Society for Children’s Book Writers and Illustrators (SCBWI) and read their annual guide and quarterly newsletters and online articles.
TBD: What were some of your favorite books as a kid, and why?
JA: Yikes squared. How long can this article be? I’m a VORACIOUS reader.
When I was still in the children’s room of the Ernie Pyle branch of the Albuquerque Public Library, I read Walter Farley (The Black Stallion), Marguerite Henry (Misty of Chincoteague), Frances Hodgson Burnett (The Secret Garden, The Little Princess). At my school library, I read all the Happy Hollisters and the Oz novels, Louisa May Alcott and Laura Ingalls Wilder. Then one day, when I was nine, I stumbled across a new book, Anne McCaffrey’s Dragonflight. Yes, I know that’s not a juvenile. Someone had misshelved it, I suppose. But I checked it out, read it with avid interest, brought it back, and asked if there were more.
The children’s librarian looked at me. “You read this? Did you understand it?” When I nodded, she called my mother over, spoke to her briefly, then turned back to me and said, “Come with me.” She led me into the adult section of the library and placed in my hands a small paperback: J.R.R Tolkien’s The Fellowship of the Ring.
I owe that librarian so much, and I never even knew her name. After that, I had the run of the adult section. My mother was a mystery reader, but she also liked Ray Bradbury and introduced me to him. I started reading the entire SF section starting with the A’s: Anthony, Asimov, Beagle, Bradley, Cherryh, Clarke, Donaldson, Doyle… Eventually, I looped back to juveniles and found Lloyd Alexander and Madeline L’Engle. Of these, the ones I read over and over and over were Peter Beagle’s The Last Unicorn, Tolkien’s Lord of the Rings, all the McCaffreys, L’Engle’s A Wrinkle in Time, and, in my teen years, Windhaven by George R.R. Martin and Lisa Tuttle.
TBD: What are you reading these days?
JA: Still reading children’s literature, everything my girls bring into the house, plus a lot of stuff they don’t find interesting but I do. I’m currently investigating verse novels as an interesting form I’d never known about. Also adult SF, particularly Seanan McGuire, Cat Valente, N.K. Jemison, Daniel Jose Older, John Scalzi, and China Mieville. My husband is a history buff, and he hands me the well written stuff. I’m currently reading Sailing the Wine Dark Sea by Thomas Cahill. I’m also reading some basic psychology, articles on Maslow’s Hierarchy of Human Needs as a framework for structuring character development. I’m working my way through Second Sight by Cheryl B. Klein. I follow several web comics religiously: xkcd, Girl Genius, Questionable Content, Mare Internum, Blindsprings, Kiwiblitz, and Phoebe and Her Unicorn.
TBD: How did you come up with the idea for your book?
JA: It fell on my head. Really. In my family, we make each other Christmas presents. Right after Thanksgiving 2013, my younger daughter asked me to write her a story with fairies and unicorns as her present. I thought, okay, sure, 10 pages or so. A couple of days later, I was watching my older daughter baking a cake. She doesn’t use recipes (that’s cheating), and sometimes her cakes are fabulous and sometimes they’re awful, but most of the time they’re okay. I thought, What if there were a young witch who just can’t figure out magic but is really good at cooking? And I started writing. And writing. And the story wouldn’t end. By Christmas, I had something like 50 pages written, and I knew then that it was a novel. I finished the first draft in time for her birthday in March, and it was around 50k words by then.
In A Witch’s Kitchen, Millie’s an apprentice witch who can’t cast a successful spell but who can cook amazing meals and scrumptious desserts. Her mother’s only interested in the magic, though, so Millie feels unappreciated and worthless. Millie’s grandmother comes up with the clever idea of sending her to the Enchanted Forest School, where she studies magic and many other things with fairies and dragons and goblins, reconnects with her half-brother, a wizard, befriends a pixie and an elf, and starts discovering that her cooking has value, and her magic isn’t so messed up as it seems. Ultimately, the novel’s about not letting other people define you.
TBD: What were some of the joys and perils of writing your novel?
JA: Joys and perils is a good way to describe it. On the one hand, it was glorious. Words just kept pouring out of me in this seemingly unending stream, and the big challenge was finding time in which to write. Fortunately, my employer decided to move to a new location which would have meant a 90-minute commute for me, so I gleefully quit and focused on the novel. But I really had no idea what I was doing. It felt like navigating a maze in total darkness using only my elbows. Characters would suddenly appear out of nowhere and take over the plot, and I’d later have to ruthlessly revise them out. And because this was my first novel, every niggling little idea I’d ever had, and every moral I wanted to pass on to my girls, showed up in one form or another. And I then had to prune and prune and prune. I have determined, empirically, that I am not a pantser. All those years as a technical writer, I suppose.
TBD: How did you go about selling your book?
JA: First, I joined SCBWI and looked through their annual guide, The Book, and their lists of agents and their sample query letter. I usually attend Arisia, the largest SF convention in Boston, and it so happened that in January 2015, N.K. Jemison was doing a pitch session, so I signed up for that. I really had no idea what a pitch was, so I read her the first paragraph of my query letter, and she had some good advice for fixing that up. Her assistant gave me some comp suggestions.
Then I went to the New England SCBWI Conference in Springfield in April 2015, and I learned so much, my head nearly exploded. On the first day, I went to a query critique session with agent Kaylee Davis, and she had some very helpful advice. I was attending with my friend Dirk Tiede, who was also a first-time attendee, and he insisted I had to do the Pitchapalooza. I really didn’t want to; pitching in front of a huge crowd of people I didn’t know sounded absolutely terrifying, but Dirk was pitching, so I put my name in to be supportive. When you pulled my name out of that bucket, I was sitting on the floor in the back of the room, frantically revising that pitch using Davis’s advice. The sheet of paper I brought up was scribbled over and scratched out and rewritten. But I pitched it, and I won. I’m still stunned by this. I’d never even seen a Pitchapalooza before.
This gave me a lot of confidence. Taking what I learned at the conference, I revised the novel again, and I started querying in June, without a whole lot of success. My manuscript buddy Dana told me about Twitter pitch parties, and I tried a few of those and got a few lukewarm responses. And then my friend Elizabeth told me about the Young Explorers’ Adventure Guide, an annual anthology of science fiction written for children, mostly middle grade but also a little YA. I checked out the publisher, Dreaming Robot Press, and I noticed that they were accepting submissions for MG fantasy novels. So I sent them my query. They got back to me in early August expressing interest, and I called in my Pitchapalooza prize, a consultation with you. Thank you so much for holding my hand through that process.
Despite your and my best efforts, I never landed an agent, but I got a lot of good advice from Gay Haldeman and Jeanne Cavelos and Barbara Ashford, and I signed with Dreaming Robot Press in February 2016.
TBD: What was it like to do a Kickstarter campaign? What are some do’s and don’ts that you learned?
JA: The Kickstarter campaign was wild and terrifying and huge fun, all at the same time. I’d been involved in a failed Kickstarter before, but Dreaming Robot Press had done two successful Kickstarters in the past, and I trusted them to make it work. One smart thing they did was pair me up with a more seasoned author, Susan Jane Bigelow, whose Extrahuman Union series is now being republished by The Book Smugglers Publishing. One mistake they made was setting the goal way too low, at just $850. We funded it in the first seven hours, during our Facebook launch party! After that, I think a lot of people just thought, oh, it funded, I don’t need to support this, so getting more buy-in was hard.
I kept trying to come up with stretch goals. I offered to publish a companion cookbook, and we blew through that stretch goal within 24 hours. I then offered to do free school visits for every $1000 over the goal, but that was too high, and it looks like I’ll only be doing one of those. During the middle slump, I got the Kickstarter posted on boingboing.net, and that same evening Susan and I were interviewed on the Sci-Fi Saturday Night podcast. All that effort netted us a total of four new supporters. But at the end, we came in at $2101, which is a pretty good feeling and some nice early publicity before publication in September.
TBD: Many writers have used pen names. In fact, David published a middle grade novel using another name, but that was because his publisher basically forced him. Why are you using one?
JA: I posted a long essay about my pen name on my Facebook author page. Here’s the short form: Dianna is my middle name, and Sanchez is my mother’s maiden name, so it’s as much my name as Jenise Aminoff. Growing up, I never saw Hispanic names on the spines of the books I read, and I never found Hispanic characters inside those books. As a child, I never questioned this. It was obvious that science fiction/fantasy was a white thing, as so many things were then.
It wasn’t until I got to college that I discovered black SF writers such as Samuel R. Delany (who was one of my Clarion instructors) and Octavia Butler. I started asking, where are all the Hispanic SF writers? I found Gabriel Garcia Marquez and Jorge Luis Borges, but that was magic realism, and I didn’t really understand the distinction, why Hispanic speculative fiction needed its own little box. Thank goodness other Hispanic SF writers are starting to emerge now: Junot Diaz, Daniel Jose Older, Carmen Maria Machado.
I want my daughters to see Hispanic names on books. I want them to find Hispanic characters in books. I want other kids – white, black, Asian, whatever – to see them, too, and to understand that science fiction is for everyone.
TBD: What’s next?
JA: Right now, I’m in the middle of moving, but that’s starting to calm down a little, so I’m beginning to plan out my next novel. I have so many novels that have been simmering on back burners, it’s been hard to decide which ones to work on next. Right now, I’m outlining a MG urban fantasy which features cross-group characters: one black, one Hispanic, and one of mixed ancestry including Anasazi. It takes place in Albuquerque and addresses issues of culture shock and adapting to new environments.
At the same time, I really want to be working on a YA novel in which a Hispanic boy gets lost in an infinitely large discount store, encountering people from all over the world who are similarly trapped. There are so many fun things I can do with this, while also channeling a creepy vibe I haven’t really played with before. But this novel is much less fully developed than the MG novel, so I’ll probably work on that first. And I have a long, LONG list of other novels I want to get to, not to mention sequels to A Witch’s Kitchen.
TBD: We hate to ask you this, but what advice do you have for writers?
JA: Ooh, now you’re playing dirty. Okay, here are the things I find myself telling people again and again.
- Go easy on yourself. Life is hard and crazy, and you never know from day to day what’s going to come along to sabotage your writing practice. Don’t feel bad about that, because your life informs your craft, and everything you do when you’re not writing is going to end up in your writing later. It’s great if you have a stable enough life that you can write a set number of hours every day, but if you can’t write every day, don’t let the shame of having failed prevent you from writing when you do have the time.
- That said, be persistent. So you didn’t write today. Tomorrow, find ten minutes to jot down ideas or do character sketches. Then, when you have a luxurious hour or two for uninterrupted writing, you’ve got material ready to work on.
- Don’t write alone. Find a critique group that’s supportive and dedicated, one that’s not overly harsh but also doesn’t pull punches, and one in which everyone is contributing more or less equally. These people are your lifeline. They will keep you sane. Critiquing their work will help you recognize what you should improve in your own writing. If you write kidlit, SCBWI has a critique group matching service you can use. If you don’t, Meetup is another great place to find groups. There are lots of online groups, too. Join the Fantasy and Science Fiction Writers in America Facebook group and just ask there. And if you can’t find a group that meets your needs, make one. That’s what I did, pulling together a bunch of people I met at that fateful 2015 conference. I love them all; I could never have finished my novel without them.
- Every first draft is terrible. Don’t lose heart. That’s what revision is for. I hate revising, passionately, and would rather go clean the bathroom or weed my garden. But revision is actually where things get interesting, when you pull together all the disparate threads of your story into a complex, well-woven whole. Think of revision as an endless series of do-overs. In time, you’ll get it just right.
Dianna Sanchez is the not-so-secret identity of Jenise Aminoff, whose superpower is cooking with small children. She is an MIT alumna, graduate of the 1995 Clarion Workshop and Odyssey Online, active member of SCBWI, and a former editor of New Myths magazine (www.newmyths.com). Aside from 18 years as a technical and science writer, she has taught science in Boston Public Schools, developed curricula for STEM education, and taught Preschool Chef, a cooking class for children ages 3-5. Her debut novel is A Witch’s Kitchen, forthcoming from Dreaming Robot Press in September 2016.
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Imagine Being the Writer You Are Not…Yet
We first met Cathy Salit when she had an idea for a book. As the CEO of Performance of a Lifetime, a company that helps individuals and organizations with all things related to human development, we knew she had a life-changing book on her hands. Performance Breakthrough: A Radical Approach to Success at Work can now be found in the business section of bookstores. But we think it’s a book that everyone interested in becoming a better version of themselves should read, especially if you’re an author without writing experience, or a writer without publicity and marketing experience. You’ll see why.
The Book Doctors: In your book, Performance Breakthrough, you talk about the idea that you can be who you are and who you’re not at the same time. Can you explain what that means?
Cathy Salit: We human beings all have an innate ability to perform, to project, to imagine, and to play. This ability is something we are able to exercise effortlessly as children. We play mommy and daddy and different superheroes, on different planets, different animals, and so on. It’s something that is not just a cute and wonderful thing about childhood; it’s also a very big part of what enables children to learn and to grow. But what happens is, at a certain point in our childhood, all that playing and all that experimenting gets pushed to the wayside, and now it’s time to learn and behave and to get things right. This is for a good reason, in the sense that you don’t want to play and experiment with how to cross the street. But we end up minimizing the part of ourselves that can, and should, and could continue to play and experiment. We develop our identities, our personalities, and define ourselves by our profession, who we love, what we like to do. Performance Breakthrough proposes that what it means to grow–to keep learning and keep developing–is to combine who we already created ourselves to be and who we are not yet.
TBD: With a lot of authors, especially of nonfiction, the first thing they say is, “I’m not a writer.” Either they’ve had careers that they’re writing about, and that career has not been writing, or they are people who have always dreamed of writing a novel, but they have a day job, et cetera. Using the principles of Performance Breakthrough, how does one take on the role of “Writer” while thinking that you are not one?
CS: What if they don’t have to own that they’re a writer? What if they just pretend to be a writer and not worry about whether they really are? A helpful concept is to creatively imitate writers, and that can include learning more about what it means to be a writer. One of the many, many things that I did to put myself in the zone of being a writer was reading books about writing by writers, like Anne Lamott and Stephen King, and creatively imitating and doing what they said to do. Number two, as a performer, I’m a talker. I’m a speaker. I pretended to trust that I could just write down what I would say, and that would be enough to get started.
TBD: Today, being a writer means more than just writing. It means being a salesperson, a publicist, a marketer. Many of these jobs are completely the opposite of what most writers want to be doing. Many writers are introverted and are not comfortable in these scenarios of having to publicize and market and sell their work. We’re curious about how you would talk about using the ideas in Performance Breakthrough for adopting these roles.
CS: Yeah, it’s hard! I am a salesperson. I am a marketer. And I find it hard. You can think about it as a scene in a new play that you’re in where some scenes are alien to you. Give yourself some lines to say. Those could include: I’m not used to speaking in public. I’m not used to doing podcasts, or being on the radio, so bear with me. You can be playful and honest about this not being your natural habitat. You don’t want to do that endlessly, but it’ll help make you feel more comfortable. Also, it will lower your expectations and relieve some of the pressure.
TBD: Do you have any advice for people who, like you, are translating a lifetime of work to the page?
CS: What occurs to me is the importance of voice. This might seem contradictory, but you can never stop being who you are. If you’re trying to put onto the page your passion, your work, don’t let the fact that you’re putting words on a page and having to use a medium that is maybe not your natural habitat rob you of your voice. Find a way to still be who you are, even while you’re being who you’re not. It’s back to our philosophy that you need to be both. You’re not just being who you’re not. You’re being who you are, too. It’s got to sound like you. It’s got to feel like you. You don’t have to impress anybody. One of the biggest compliments that I’ve gotten for my book is that people feel like they’re in the room with me. Perhaps that’s particularly important for my book because our work is of such an experiential nature.
Cathy Salit is the CEO of the innovative consulting and training firm Performance of a Lifetime and author of PERFORMANCE BREAKTHROUGH: A Radical Approach to Success at Work (Hachette Books). She is a speaker, facilitator, executive coach, instructional designer, and social entrepreneur. Cathy performs regularly with the musical improv comedy troupe the Proverbial Loons and, less frequently, sings jazz and R & B on any stage she can find or create. She lives in New York City.